At the close of a silly book, the author as usual printed the word FINIS.--A wit put this among the errata, with this pointed couplet:--

FINIS!--an error, or a lie, my friend!

In writing foolish books--there is _no End_!

In the year 1561 was printed a work, ent.i.tled "the Anatomy of the Ma.s.s."

It is a thin octavo, of 172 pages, and it is accompanied by an _Errata_ of 15 pages! The editor, a pious monk, informs us that a very serious reason induced him to undertake this task: for it is, says he, to forestal the _artifices of Satan_. He supposes that the Devil, to ruin the fruit of this work, employed two very malicious frauds: the first before it was printed, by drenching the MS. in a kennel, and having reduced it to a most pitiable state, rendered several parts illegible: the second, in obliging the printers to commit such numerous blunders, never yet equalled in so small a work. To combat this double machination of Satan he was obliged carefully to re-peruse the work, and to form this singular list of the blunders of printers under the influence of Satan. All this he relates in an advertis.e.m.e.nt prefixed to the _Errata_.

A furious controversy raged between two famous scholars from a very laughable but accidental _Erratum_, and threatened serious consequences to one of the parties. Flavigny wrote two letters, criticising rather freely a polyglot Bible edited by Abraham Ecch.e.l.lensis. As this learned editor had sometimes censured the labours of a friend of Flavigny, this latter applied to him the third and fifth verses of the seventh chapter of St. Matthew, which he printed in Latin. Ver 3. _Quid vides festucam in_ OCULO _fratris tui, et trabem in_ OCULO _tuo non vides_? Ver. 5.

_Ejice primum trabem de_ OCULO _tuo, et tunc videbis ejicere festucam de_ OCULO _fratris tui_. Ecch.e.l.lensis opens his reply by accusing Flavigny of an _enormous crime_ committed in this pa.s.sage; attempting to correct the sacred text of the Evangelist, and daring to reject a word, while he supplied its place by another as _impious_ as _obscene_! This crime, exaggerated with all the virulence of an angry declaimer, closes with a dreadful accusation. Flavigny's morals are attacked, and his reputation overturned by a horrid imputation. Yet all this terrible reproach is only founded on an _Erratum_! The whole arose from the printer having negligently suffered the _first letter_ of the word _Oculo_ to have dropped from the form, when he happened to touch a line with his finger, which did not stand straight! He published another letter to do away the imputation of Ecch.e.l.lensis; but thirty years afterwards his rage against the negligent printer was not extinguished; the wits were always reminding him of it.

Of all literary blunders none equalled that of the edition of the Vulgate, by Sixtus V. His Holiness carefully superintended every sheet as it pa.s.sed through the press; and, to the amazement of the world, the work remained without a rival--it swarmed with errata! A mult.i.tude of sc.r.a.ps were printed to paste over the erroneous pa.s.sages, in order to give the true text. The book makes a whimsical appearance with these patches; and the heretics exulted in this demonstration of papal infallibility! The copies were called in, and violent attempts made to suppress it; a few still remain for the raptures of the biblical collectors; not long ago the bible of Sixtus V. fetched above sixty guineas--not too much for a mere book of blunders! The world was highly amused at the bull of the editorial Pope prefixed to the first volume, which excommunicates all printers who in reprinting the work should make any _alteration_ in the text!

In the version of the Epistles of St. Paul into the Ethiopic language, which proved to be full of errors, the editors allege a good-humoured reason--"They who printed the work could not read, and we could not print; they helped us, and we helped them, as the blind helps the blind."

A printer's widow in Germany, while a new edition of the Bible was printing at her house, one night took an opportunity of stealing into the office, to alter that sentence of subjection to her husband, p.r.o.nounced upon Eve in Genesis, chap. 3, v. 16. She took out the two first letters of the word HERR, and subst.i.tuted NA in their place, thus altering the sentence from "and he shall be thy LORD" (_Herr_), to "and he shall be thy FOOL" (_Narr_). It is said her life paid for this intentional erratum; and that some secreted copies of this edition have been bought up at enormous prices.

We have an edition of the Bible, known by the name of _The Vinegar Bible_; from the erratum in the t.i.tle to the 20th chap. of St. Luke, in which "Parable of the _Vineyard_," is printed, "Parable of the _Vinegar_." It was printed in 1717, at the Clarendon press.

We have had another, where "Thou shalt commit adultery" was printed, omitting the negation; which occasioned the archbishop to lay one of the heaviest penalties on the Company of Stationers that was ever recorded in the annals of literary history.[37]

Herbert Croft used to complain of the incorrectness of our English cla.s.sics, as reprinted by the booksellers. It is evident some stupid printer often changes a whole text intentionally. The fine description by Akenside of the Pantheon, "SEVERELY great," not being understood by the blockhead, was printed _serenely great_. Swift's own edition of "The City Shower," has "old ACHES throb." _Aches_ is two syllables, but modern printers, who had lost the right p.r.o.nunciation, have _aches_ as one syllable; and then, to complete the metre, have foisted in "aches _will_ throb." Thus what the poet and the linguist wish to preserve is altered, and finally lost.[38]

It appears by a calculation made by the printer of Steevens's edition of Shakspeare, that every octavo page of that work, text and notes, contains 2680 distinct pieces of metal; which in a sheet amount to 42,880--the misplacing of any one of which would inevitably cause a blunder! With this curious fact before us, the accurate state of our printing, in general, is to be admired, and errata ought more freely to be pardoned than the fastidious minuteness of the insect eye of certain critics has allowed.

Whether such a miracle as an immaculate edition of a cla.s.sical author does exist, I have never learnt; but an attempt has been made to obtain this glorious singularity--and was as nearly realised as is perhaps possible in the magnificent edition of _Os Lusiadas_ of Camoens, by Dom Joze Souza, in 1817. This amateur spared no prodigality of cost and labour, and flattered himself, that by the a.s.sistance of Didot, not a single typographical error should be found in that splendid volume. But an error was afterwards discovered in some of the copies, occasioned by one of the letters in the word _Lusitano_ having got misplaced during the working of one of the sheets. It must be confessed that this was an _accident_ or _misfortune_--rather than an _Erratum!_

One of the most remarkable complaints on ERRATA is that of Edw. Leigh, appended to his curious treatise on "Religion and Learning." It consists of two folio pages, in a very minute character, and exhibits an incalculable number of printers' blunders. "We have not," he says, "Plantin nor Stephens amongst us; and it is no easy task to specify the chiefest errata; false interpunctions there are too many; here a letter wanting, there a letter too much; a syllable too much, one letter for another; words parted where they should be joined; words joined which should be severed; words misplaced; chronological mistakes," &c. This unfortunate folio was printed in 1656. Are we to infer, by such frequent complaints of the authors of that day, that either they did not receive proofs from the printers, or that the printers never attended to the corrected proofs? Each single erratum seems to have been felt as a stab to the literary feelings of the poor author!

FOOTNOTES:

[Footnote 37: It abounded with other errors, and was so rigidly suppressed, that a well-known collector was thirty years endeavouring ineffectually to obtain a copy. One has recently been added to the British Museum collection.]

[Footnote 38: A good example occurs in _Hudibras_ (Part iii. canto 2, line 407), where persons are mentioned who

"Can by their pangs and _aches_ find All turns and changes of the wind."

The rhythm here demands the dissyllable _a-ches_, as used by the older writers, Shakspeare particularly, who, in his _Tempest_, makes Prospero threaten Caliban--

"If thou neglect'st, or dost unwillingly What I command, I'll rack thee with old cramps; Fill all thy bones with _aches_; make thee roar That beasts shall tremble at thy din."

John Kemble was aware of the necessity of using this word in this instance as a dissyllable, but it was so unusual to his audiences that it excited ridicule; and during the O.P. row, a medal was struck, representing him as manager, enduring the din of cat-calls, trumpets, and rattles, and exclaiming, "Oh! my head _aitches_!"]

PATRONS.

Authors have too frequently received ill treatment even from those to whom they dedicated their works.

Some who felt hurt at the shameless treatment of such mock Maecenases have observed that no writer should dedicate his works but to his FRIENDS, as was practised by the ancients, who usually addressed those who had solicited their labours, or animated their progress. Theodosius Gaza had no other recompense for having inscribed to Sixtus IV. his translation of the book of Aristotle on the Nature of Animals, than the price of the binding, which this charitable father of the church munificently bestowed upon him.

Theocritus fills his Idylliums with loud complaints of the neglect of his patrons; and Ta.s.so was as little successful in his dedications.

Ariosto, in presenting his Orlando Furioso to the Cardinal d'Este, was gratified with the bitter sarcasm of--"_Dove diavolo avete pigliato tante coglionerie?_" Where the devil have you found all this nonsense?

When the French historian Dupleix, whose pen was indeed fertile, presented his book to the Duke d'Epernon, this Maecenas, turning to the Pope's Nuncio, who was present, very coa.r.s.ely exclaimed--"Cadedids! ce monsieur a un flux enrage, il chie un livre toutes les lunes!"

Thomson, the ardent author of the Seasons, having extravagantly praised a person of rank, who afterwards appeared to be undeserving of eulogiums, properly employed his pen in a solemn recantation of his error. A very different conduct from that of Dupleix, who always spoke highly of Queen Margaret of France for a little place he held in her household: but after her death, when the place became extinct, spoke of her with all the freedom of satire. Such is too often the character of some of the literati, who only dare to reveal the truth, when they have no interest to conceal it.

Poor Mickle, to whom we are indebted for so beautiful a version of Camoens' Lusiad, having dedicated this work, the continued labour of five years, to the Duke of Buccleugh, had the mortification to find, by the discovery of a friend, that he had kept it in his possession three weeks before he could collect sufficient intellectual desire to cut open the pages! The neglect of this n.o.bleman reduced the poet to a state of despondency. This patron was a political economist, the pupil of Adam Smith! It is pleasing to add, in contrast with this frigid Scotch patron, that when Mickle went to Lisbon, where his translation had long preceded his visit, he found the Prince of Portugal waiting on the quay to be the first to receive the translator of his great national poem; and during a residence of six months, Mickle was warmly regarded by every Portuguese n.o.bleman.

"Every man believes," writes Dr. Johnson to Baretti, "that mistresses are unfaithful, and patrons are capricious. But he excepts his own mistress, and his own patron."

A patron is sometimes oddly obtained. Benserade attached himself to Cardinal Mazarin; but his friendship produced nothing but civility. The poet every day indulged his easy and charming vein of amatory and panegyrical poetry, while all the world read and admired his verses.

One evening the cardinal, in conversation with the king, described his mode of life when at the papal court. He loved the sciences; but his chief occupation was the belles lettres, composing little pieces of poetry; he said that he was then in the court of Rome what Benserade was now in that of France. Some hours afterwards, the friends of the poet related to him the conversation of the cardinal. He quitted them abruptly, and ran to the apartment of his eminence, knocking with all his force, that he might be certain of being heard. The cardinal had just gone to bed; but he incessantly clamoured, demanding entrance; they were compelled to open the door. He ran to his eminence, fell upon his knees, almost pulled off the sheets of the bed in rapture, imploring a thousand pardons for thus disturbing him; but such was his joy in what he had just heard, which he repeated, that he could not refrain from immediately giving vent to his grat.i.tude and his pride, to have been compared with his eminence for his poetical talents! Had the door not been immediately opened, he should have expired; he was not rich, it was true, but he should now die contented! The cardinal was pleased with his _ardour_, and probably never suspected his _flattery_; and the next week our new actor was pensioned.

On Cardinal Richelieu, another of his patrons, he gratefully made this epitaph:--

Cy gist, ouy gist, par la mort bleu, Le Cardinal de Richelieu, Et ce qui cause mon ennuy Ma PENSION avec lui.

Here lies, egad, 'tis very true, The ill.u.s.trious Cardinal Richelieu: My grief is genuine--void of whim!

Alas! my _pension_ lies with him!

Le Brun, the great French artist, painted himself holding in his hand the portrait of his earliest patron. In this accompaniment the Artist may be said to have portrayed the features of his soul. If genius has too often complained of its patrons, has it not also often over-valued their protection?

POETS, PHILOSOPHERS, AND ARTISTS, MADE BY ACCIDENT.

Accident has frequently occasioned the most eminent geniuses to display their powers. "It was at Rome," says Gibbon, "on the 15th of October, 1764, as I sat musing amidst the ruins of the Capitol, while the bare-footed friars were singing vespers in the Temple of Jupiter, that the idea of writing the Decline and Fall of the City first started to my mind."

Father Malebranche having completed his studies in philosophy and theology without any other intention than devoting himself to some religious order, little expected the celebrity his works acquired for him. Loitering in an idle hour in the shop of a bookseller, and turning over a parcel of books, _L'Homme de Descartes_ fell into his hands.

Having dipt into parts, he read with such delight that the palpitations of his heart compelled him to lay the volume down. It was this circ.u.mstance that produced those profound contemplations which made him the Plato of his age.

Cowley became a poet by accident. In his mother's apartment he found, when very young, Spenser's Fairy Queen; and, by a continual study of poetry, he became so enchanted by the Muse, that he grew irrecoverably a poet.

Sir Joshua Reynolds had the first fondness for his art excited by the perusal of Richardson's Treatise.

Vaucanson displayed an uncommon genius for mechanics. His taste was first determined by an accident: when young, he frequently attended his mother to the residence of her confessor; and while she wept with repentance, he wept with weariness! In this state of disagreeable vacation, says Helvetius, he was struck with the uniform motion of the pendulum of the clock in the hall. His curiosity was roused; he approached the clock-case, and studied its mechanism; what he could not discover he guessed at. He then projected a similar machine; and gradually his genius produced a clock. Encouraged by this first success, he proceeded in his various attempts; and the genius, which thus could form a clock, in time formed a fluting automaton.

Accident determined the taste of Moliere for the stage. His grandfather loved the theatre, and frequently carried him there. The young man lived in dissipation; the father observing it asked in anger, if his son was to be made an actor. "Would to G.o.d," replied the grandfather, "he were as good an actor as Monrose." The words struck young Moliere, he took a disgust to his tapestry trade, and it is to this circ.u.mstance France owes her greatest comic writer.

Corneille loved; he made verses for his mistress, became a poet, composed _Melite_ and afterwards his other celebrated works. The discreet Corneille had else remained a lawyer.